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Top Ten Works of the 19th Century

1. Anna Karenina by Leo Tolstoy (1877). Anna’s adulterous love affair with Count Vronsky —­ which follows an inevitable, devastating road from their dizzyingly erotic first encounter at a ball to Anna’s exile from society and her famous, fearful end —­ is a masterwork of tragic love. What makes the novel so deeply satisfying, though, is how Tolstoy balances the story of Anna’s passion with a second semiautobiographical story of Levin’s spirituality and domesticity. Levin commits his life to simple human values: his marriage to Kitty, his faith in God, and his farming. Tolstoy enchants us with Anna’s sin, then proceeds to educate us with Levin’s virtue.

2. Madame Bovary by Gustave Flaubert (1857). Of the many nineteenth-century novels about adulteresses, only Madame Bovary features a heroine frankly detested by her author. Flaubert battled for five years to complete his meticulous portrait of extramarital romance in the French provinces, and he complained endlessly in letters about his love-starved main character —­ so inferior, he felt, to himself. In the end, however, he came to peace with her, famously saying, “Madame Bovary: c’est moi.” A model of gorgeous style and perfect characterization, the novel is a testament to how yearning for a higher life both elevates and destroys us.

3. War and Peace by Leo Tolstoy (1869). Mark Twain supposedly said of this masterpiece, “Tolstoy carelessly neglects to include a boat race.” Everything else is included in this epic novel that revolves around Napoleon’s invasion of Russia in 1812. Tolstoy is as adept at drawing panoramic battle scenes as he is at describing individual feeling in hundreds of characters from all strata of society, but it is his depiction of Prince Andrey, Natasha, and Pierre —­ who struggle with love and with finding the right way to live —­ that makes this book beloved.

4. Middlemarch by George Eliot (1871–72). Dorothea Brooke is a pretty young idealist whose desire to improve the world leads her to marry the crusty pedant Casaubon. This mistake takes her down a circuitous and painful path in search of happiness. The novel, which explores society’s brakes on women and deteriorating rural life, is as much a chronicle of the English town of Middlemarch as it is the portrait of a lady. Eliot excels at parsing moments of moral crisis so that we feel a character’s anguish and resolve. Her intelligent sympathy for even the most unlikable people redirects our own moral compass toward charity rather than enmity.

5. Adventures of Huckleberry Finn by Mark Twain (1884). Hemingway proclaimed, “All modern American literature comes from . . . ‘Huckleberry Finn.’ ” But one can read it simply as a straightforward adventure story in which two comrades of convenience, the parentally abused rascal Huck and fugitive slave Jim, escape the laws and conventions of society on a raft trip down the Mississippi. Alternatively, it’s a subversive satire in which Twain uses the only superficially naïve Huck to comment bitingly on the evils of racial bigotry, religious hypocrisy, and capitalist greed he observes in a host of other largely unsympathetic characters. Huck’s climactic decision to “light out for the Territory ahead of the rest” rather than submit to the starched standards of “civilization” reflects a uniquely American strain of individualism and nonconformity stretching from Daniel Boone to Easy Rider.

6. The stories of Anton Chekhov (1860–1904). The son of a freed Russian serf, Anton Chekhov became a doctor who, between the patients he often treated without charge, invented the modern short story. The form had been over-decorated with trick endings and swags of atmosphere. Chekhov freed it to reflect the earnest urgencies of ordinary lives in crises through prose that blended a deeply compassionate imagination with precise description. “He remains a great teacher-healer-sage,” Allan Gurganus observed of Chekhov’s stories, which “continue to haunt, inspire, and baffle.”

7. ­Moby-Dick by Herman Melville (1851). This sweeping saga of obsession, vanity, and vengeance at sea can be read as a harrowing parable, a gripping adventure story, or a semiscientific chronicle of the whaling industry. No matter, the book rewards patient readers with some of fiction’s most memorable characters, from mad Captain Ahab to the titular white whale that crippled him, from the honorable pagan Queequeg to our insightful narrator/surrogate (“Call me”) Ishmael, to that ­ hell-bent vessel itself, the ­ Pequod.

8. Great Expectations by Charles Dickens (1860–61). Dickens gives a twist to an ancient ­ storyline —­ of the child of royal birth raised in humble surroundings. Looking back on his life, Pip describes his poor youth near marshes in rural ­ England —­ his chance encounter with a murderous convict, his experiences with the strange Miss Havisham, who always wears a wedding dress, and his love for her beautiful adopted daughter Estella. As he approaches adulthood, Pip learns that he has a secret benefactor who arranges opportunities for him in London, wherein lies the tale, and the ­ twist.

9. Crime and Punishment by Fyodor Dostoevsky (1866). In the peak heat of a St. Petersburg summer, an erstwhile university student, Raskolnikov, commits literature’s most famous fictional crime, bludgeoning a pawnbroker and her sister with an axe. What follows is a psychological chess match between Raskolnikov and a wily detective that moves toward a form of redemption for our antihero. Relentlessly philosophical and psychological, Crime and Punishment tackles freedom and strength, suffering and madness, illness and fate, and the pressures of the modern urban world on the soul, while asking if “great men” have license to forge their own moral ­ codes.

10. The Brothers Karamazov by Fyodor Dostoevsky (1880). In perhaps the consummate Russian novel, Dostoevsky dramatizes the spiritual conundrums of nineteenth-century Russia through the story of three brothers and their father’s murder. Hedonistic Dmitri, tortured intellectual Ivan, and saintly Alyosha embody distinct philosophical positions, while remaining full-fledged human beings. Issues such as free will, secularism, and Russia’s unique destiny are argued not through authorial polemic, but through the confessions, diatribes, and nightmares of the characters themselves. An unsparing portrayal of human vice and weakness, the novel ultimately imparts a vision of redemption. Dostoevsky’s passion, doubt, and imaginative power compel even the secular West he scorned.